★★★☆☆ The story takes place during the Vietnam war and revolves around the whirlwind romance between a young barmaid, Kim (Sooha Kim) and the handsome American G.I. Chris (Ashley Gilmour). When the war forces them apart all they can do is think about being reunited . . .
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★★★★☆ The show makes no bones about its cinematic origins; indeed it wears them on its sleeve . . . It’s all done with a brio and wit that sets the tone for the whole show. There is even a cameo walk-on of a Hitchcock lookalike during some toing and froing . . .
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★★★★★ If you are trying to recall all thirty-eight of the plays, don’t. This minor miracle is not amongst them. It’s Gregory Doran’s adaption of Shakespeare’s beautiful, comic and tragic narrative poem, a work which tells you everything you ever wanted to know about romantic love.
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★★★★☆ Watermill’s rendition is steeped in a jazz era aesthetic. It’s a very canny way of treating the play, where Malvolio’s puritanism is channelled through Prohibition-era context, Sir Toby is a veteran of the speak-easy, and Duke Orsino’s court is a lavish jazz club.
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★★★★☆ Covering the Mod movement from its heyday all the way until its decline and transformation into the hippie era, All or Nothing charts the rise of the Small Faces and its temperamental frontman Steve Marriott . . . All or Nothing has a firm understanding of what its audience has come to see.
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★★★☆☆ Waddell describes her journey from deception to self-discovery with wit and self-deprecatory charm.
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